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A list by cherryeater Marliese is her name, screaming is her game. Last refreshed 2 September 2009 |
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|  | Fischer-Z Marliese Has to be my all time favourite song. Possibly because it encapsulates a time in my life when a song like this really hit a chord. The epitome of post-punk, this song still transports me back to that particular time when it came out. In Holland and Germany Fischer-Z were big, and this was their biggest hit. Could never understand why they were so overlooked in their own country. The song is about a man who sets out to kill his girlfriend who is an actress or singer who left him in his moment of greatest need. Yet when he catches up with her, his desire for revenge is satisfied by simply letting her know that she is not worth doing anything to. All guys who have ever had that moment where the girl you cared for left you in the lurch, this is your song. No one has ever done this better than Fischer-Z and, over 20 years on, I doubt anyone will. | ||
|  | The Waterboys The Pan Within An incredibly sensuous, even erotic song, this is the best of the Waterboys. The whole album is outstanding and maybe my favourite album of all time, if I actually sat down and thought about it. The track builds quietly, a moody bassline in the background which alternately holds and frees. A violin roars and cries throughout, and turns into a banshee at the end. Mike Scott's voice rises and falls, breathless with exhaustion after the song reaches its climax. Underpinning it is a simple piano score, which provides the lynchpin around which the rest of the track is based. Mike Scott is, without doubt, a genius. I know of no other artist who can put so much passion into his music. Songs are sung with feeling, and when that feeling reaches its greatest intensity, Scott produces his greatest work. All of the Waterboys tracks in this list have that intense feeling. All of the tracks on this album have that intensity. I cannot describe this song in any way that will do it justice. For me, if music doesn't move me than it is not worth listening to. This track not only moves me emotionally, but the emotions have a physical effect on me. I listen to this and I feel exhausted. Judge for yourself, but you just have to hear it. Listen to it many times to get the full effect. If this fails to move you, then you have no soul. Simple, plain, incontrovertible. You are not human if this cannot make you feel like crying. | ||
|  | The Rolling Stones Gimme Shelter The Stones have such a phenomenal catalogue of great tracks that it is hard to identify which is their best. Yet for me, this is definitely it. Without doubt, the best track to come out of the sixties, this has weathered the test of time beautifully, and still sounds as masterful as it did all those years ago. The song is, for the Stones, one of their more politically charged songs, a stunning condemnation of the US involvement in Vietnam. I have heard this as the backing track to TV footage of that conflict and it just fits perfectly. Yet I have also heard it as backing footage to a slow-motion video of American football being played in the rain, and as a TV commercial for a breakdown service, and even then it still works. There are not many tracks you could say that about. This song has perhaps the greatest of all intro to song shifts in the history of Rock and Roll. Keith Richard is at his peak with the quiet notes, leading into a driving rock track which has no equal among its contemporaries. I am told that live versions of this exist - I would love to hear one!!!! | ||
|  | Big Country Porrohman The outstanding track off one of the greatest debut albums of all time. Stuart Adamson had just left the Skids when he rode the wave of post-punk and brought it into almost commercial mainstream. If he had managed to do this a year earlier, the stupidities of the New Romantics might never have acheived the commercial success they did. What makes this track is the swirling guitars of the song rather than anything else. Overlayer after overlayer, seemingly syncopated yet providing a harmony and a coherence that has not been repeated since. There are times when Stuart's bowed guitar reaches deep into the soul and stays there. Sometimes I listen to this song and it inspires and uplifts me like no other. This is how I wish to remember Big Country, and the great, late Stuart Adamson. | ||
|  | The Psychedelic Furs Pretty In Pink I talk here of the original version on "Talk Talk Talk" not the version which later provided the soundtrack for the film of the same name. When I first heard this I fell in love with it. A great riff and silly lyrics, but it is catchy beyond belief. Listen and wonder - this is 24 years old! Butler did not have the greatest voice, but this song was made for him. Right at the start, the drums thump, and you are in to one of the most memorable melodies you will ever hear. Two guitars, one drives, one jangles, run over a haunting keyboard piece which comes forward at the solos. But the sax powers this, and the drumming is safe and sound, without which the song would not be half as good. The Furs never got the recognition they deserved (how many times will I say that in the course of this list) but they were one of the greatest post-punk outfits. | ||
| ![Led Zeppelin [IV]](http://static.rateyourmusic.com/album_images/s43.jpg) | Led Zeppelin Stairway To Heaven There isn't much I can say about this song that hasn't already been said. Whether or not some people regard it as being too familiar a work is not the point. It is so familiar because it is so damn good. Classic is a much overused word, but if a space probe is launched carrying examples of Planet Earth's music, then "Stairway To Heaven" would have to be included. The truth is that this is the sublime essence of rock. All the rip off artists who came after could never hope to acheive this. Axl Rose and Slash just proved themselves to be total frauds when they tried. Jon Bon Jovi was a pretty face in tight trousers. He never had the vocal range of Robert Plant and could only rely on hip-swinging to cover up his deficiencies. Just remember, Robert Plant was only 22 when he wrote the lyrics to this. Most famous perhaps for its outstanding guitar solo, Jimmy Page is at his best here. The solo is not long, not complicated, not fast, not deep and meaningful, but it fits the song perfectly. Yet for me, the essence of this song is the beautiful keyboard work of John Paul Jones. He carries the track for the opening verses, holding back Bonham from launching into some crazed drum rolls, and forcing Page to slow and mellow so that Plant can sing those wonderful words. And then all hell breaks loose. There is only one "Stairway to Heaven" and there will always be only one. | ||
|  | The Who Won't Get Fooled Again When I was a kid, me and a load of others from school used to go to this club where rock music was played instead of disco dross. The highlight of the evening was when the DJ put on this track. Never thought you could dance to this? Well, you can, just let yourself go. The night Keith Moon died, I heard it on the early evening news and went down to the club. People were stunned. When the DJ put this on, as usual, the floor filled. But instead of people dancing, the floor was filled with a hundred souls, heads bowed, standing perfectly still for the whole 8 1/2 damn minutes of this song. Just listen to Keith Moon's drumming on this. How he manages to keep time and yet provide such a wild thrashing is a marvel. Yet although this is Keith Moon's finest hour, let's not forget that haunting, repetitive, multi-shifted keyboard line which runs throughout the entire song. It opens the song and only stops with the final half dozen thrash chords which end it. Let us not also forget this is pure politics. Revolution my arse. You'll end up the same as the people you replaced. A signal to dictators and freedom fighters alike. All revolutions eventually turn on themselves. Reminiscent of Napoleon in "Animal Farm" or the Lenin's, Mao's and petty tinpot dictators the world over, those last few words ring out - "Meet the new boss! Same as the old boss!" | ||
|  | Modern Eon Child's Play To people who have not heard this, it will be something of a surprise. Yet Modern Eon produced excellent post-punk in a short but sparkling career. A eulogy to the child in all of us, this track stands out for its solo. The instrument used is the sax, and it rips into you, bursting out like greyhounds from traps. But listen carefully, underneath are some fantastic cascading guitar chords which provide a shimmering foundation upon which to place that solo. Pity the band could not do more of this. | ||
|  | The Chameleons Monkeyland The most underrated band of the 1980's, the Chameleons were up there with Fischer-Z and the Psycheledelic Furs as the best of UK post punk. Monkeyland was their outstanding track. Driving rhythm was the band's hallmark and this track has that to a tee. Slow to start, but deliberately so, it lulls you into a false sense of what is to come. Then it breaks. Hear that rhythm and feel it wash over you. Suddenly you are picked up and thrown across the room by the change in tempo. Then the rest of the song kicks in. The lyrics are typically dark and mysterious; the drums and bass firm and holding the song together and providing the power and force; while the guitars play over the whole giving the track body and intensity. "It's just a trick of the light" stands out, almost screamed at you. But this trick is of the sound not the light. The trick is in the coda and the change of tempo which stops you dead in your tracks and then picks you up where it left off. To think this band never acheived any sort of success is criminal. | ||
|  | Billy Bragg A New England Oh girl, how you ruined your life. But then there were thousands like you, all living in the disenfranchised and ignored underclass of early 1980's Britain. | ||
|  | The Only Ones Another Girl Another Planet The perfect pop song is supposed to last 3 minutes. This last 2 minutes and fifty nine seconds so I suppose that makes it imperfect. Don't believe a word of it. Gradually rising intro reaches a climax and springs into catchy pop pleasure. Peter Perrett's vocal whine is perfectly framed by this song as it bounces along, leading to a wonderful guitar solo, backed by tapping cymbals. And then it ends, quick and sharp - mustn't exceed those three minutes. Okay, so a new standard is set.The perfect pop song must not last more than two minutes and fifty nine seconds. That makes this song perfect then, right? Right! | ||
|  | B-Movie Rememberance Day Quick poppy guitars lead into this driving and, in its own way, sad song. Beautifully put together from another band who the world overlooked. | ||
| | The Waterboys Red Army Blues The Waterboys become the first band to have two tracks in the list. And man is this justified. "Red Army Blues" is a simply awesome anthem, a musical chronicle in the theme of Solzhenitsyn's "Gulag Archipelago", it borrows its score from a traditional Russian theme and then adds Mike Scott's genius over the top. The first thing that strikes you is the sax, more of that later with a coruscating sax solo. Then you hear the piano, which everytime you hear it come to the fore, it slows the track down ready for the sax and guitar to pick the tempo up again shortly. And finally, the guitar itself - the final solo is almost manic in its execution. Scott's vocals are as passionate as ever. The best story told in music you will hear. | ||
|  | The Stone Roses I Am The Resurrection Anthemic track which closed the original pressings of their first album. The track is in two parts - the first the song itself, the second some excellent jamming which has little or nothing to do with the first part. Some would write this off as mindless self-indulgence, but this was not the first track to have done it ("Layla" by Derek and the Dominoes for one: "The Ocean" by Led Zeppelin for another). The song itself is about rejecting someone in a love affair. But there is no bitterness only contempt ('I couldn't bring myself to hate you if I tried') and arrogance ('I am the resurrection and I am the light'). But it is the second part which lights up the track, sublime weaving guitars playing as if ad lib, but this had to be scripted. It could not be this good if it did not originate in some sort of framework. | ||
|  | Bauhaus Bela Lugosi's Dead Great track, conveys a mixture of horror and admiration. | ||
|  | New Order Blue Monday The best dance track ever. Nuff said! | ||
|  | The Del Fuegos It's Alright Great power-pop track. Picks you up in itself and carries you along til the end. Superb guitar work with two excellent solos. Like a lot of power-pop it has to have an appeal to the juvenile. We've all dreamt up lyrics like 'I love you Baby and I love your cat, I love the way you look at my fireman's hat' when we've been smashed down the pub, so that can be overlooked in this great piece of pure 3 minute magic. | ||
|  | Lloyd Cole and The Commotions Mr. Malcontent Ripping guitar hook, just listen to it as the fade out begins. This is my favourite from Lloyd Cole and the Commotions and it kicks off their finest and last album. It also has that superb line in the lyrics, one I have often quoted back if people suggest I ought to become a lawyer - "And should I laugh or should I cry For I've become all I despise." This song is the ultimate LC&C song, sparkling lyrics and excellent musicality. It marked a change from the earlier 'student' phase of his music and into a somewhat darker, less glibly intellectual style of music. And the better the music was for it as well. But oh that guitar is what makes it. | ||
|  | Dr. Feelgood Going Back Home (Live version off "Stupidity") THIS IS RnB!! NOT THAT CRAP WHICH WAILING WOMEN WAIL ABOUT. And how, just check out that harp solo. | ||
|  | Derek & the Dominos Layla Often copied, never bettered, Layla was the height of the brief but brilliant career of Derek and the Dominoes. Possibly Clapton's finest moment, this is a pop song turned into an anthem by the delightful piano and guitar piece at the end of the track. Almost two songs as a result, the hook line of the first part catches you in its grip and does not let go. Even people who cannot name the song recognise that hook. The lyrics are perhaps the weakest part, Clapton was a guitarist not a songwriter so we can excuse him that. Even so, the refrain is superbly constructed and melds within the remainder of the song perfectly. By the time you have run through two verses, you may ask what is so special about this track. Then it slows, almost to a halt, before the virtuouso takes over. And what a performance too. No-one does this mellow laid back guitar the way Clapton does, bending and soaring across a piano line which is sublime in its concept and breathtaking in its craftsmanship. The second part goes on longer than the first, yet it hardly seems that way as time seems to pass by effortlessly as you are suspended by the music in a symphony of pure magic. No words are needed for this part of the track. This is pure unadulterated musicianship of the highest quality. | ||
|  | The Cars Just What I Needed Takes me back to a time when life was simpler. The last time in my life when I had no responsibility for anything. Oh how we all long for those halcyon days. This song simply reminds me of them. | ||
|  | Eddie and the Hot Rods Gloria/(I Can't Get No) Satisfaction The "Live at the Marquee" EP has to be the best piece of live music ever played. The Marquee in Wardour Street, London at the time was a cramped, underground hothouse, one of the few places where punk bands could play. Eddie and the Hot Rods recorded this track as the encore to their set. By the time the track began, everyone was on their feet. Hollis emerges and calls out, 'Get 'em off! Can't have chairs in the audience so get 'em away. GET 'EM OUT OF HERE!' And then it begins. Smashing guitars lay into Van Morrison's "Gloria" as Hollis invites the crowd to sing along with the chorus. This they do, and continue long into the mid section where the song segues into the Stones "Satisfaction". One verse and 23 repititons of 'No Satisfaction' and Hollis screams the song, the EP and the set to an end. Pure, unadulterated energy. | ||
| | Led Zeppelin Achilles Last Stand I have never been able to figure out just how many guitars swirl around this track. The way the intro plays out as the ending fits the "epic-poetic" theme of this wonderful track. | ||
|  | The Vibrators Baby Baby Deceptively simple and yet complex at the same time. A three note baseline; a three word refrain; two verses a stunning guitar solo and then endless repetition of the refrain. Yet this is superb. Punk music never got any better than this. The Vibrators were not rated during their time but slowly are gaining belated recognition. And based on this track, they deserve it. | ||
|  | Jimi Hendrix All Along the Watchtower Even Bob Dylan reckons this is better than the original. Hendrix takes this song and really makes it his own with some superb guitar work. The booming start, the wailing lick into the first stanza and the haunting, looping solo, this is Hendrix at his positive best. Even the singing, so often the weakest part of Hendrix songs, is outstanding here, with some soulful and passionate lines delivered, especially the opening one of the last verse. | ||
|  | R.E.M. It's The End Of The World And We Know It (And I Feel Fine) Billy Joel should be shot for ripping the concept off this. Scatter gun approach to lyrics at its best. | ||
| | The Rolling Stones Midnight Rambler There is so much I can say about this song. In simple terms, it conveys the mixture of terror, tension, spine-tingling fear and slowly building panic which must have gripped Boston at the time of the Strangler. This is music with feeling, a feeling which conveys exactly the spirit of the moment it is trying to capture. How anyone can listen to this and then think "I prefer the inanity of Britney Spears" is completely beyond me. Music must move, must transport me to a different place. This does. | ||
|  | Joy Division Dead Souls Superb guitar work on this, but the title has to be the most depressing ever. Think about it, souls are supposed to be eternal. | ||
|  | Meat Loaf Paradise By The Dashboard Light There is no better, and I mean NO better, teenage angst song than this. Masterfully constructed, Steinman was a genius to write this. | ||
|  | The House of Love Love In A Car What a track! Just listen to it! Queitly singing of love while the guitars scream "fuck me! fuck me!" | ||
| | The Who Baba O'Riley I cannot describe this. I have no idea what it is about and no idea what drives it. The keyboards provide its impetus and Daltry's voice lifts it. Sometimes I think of it as a practice run for the mangificent "Won't Get Fooled Again" but that is too simple. It is brilliant in its own right, without me knowing how or why. Perhaps that is why. | ||
|  | Booker T. & The MGs Green Onions One of the greatest sixties dance themes of all. Just liste to that superb organ line. | ||
|  | Martha & The Muffins Echo Beach "Sek O Sa-taan, ho loi si-gaan" You won't get that, I know, but for me this track summed up a summer and provided a barrelful of laughs three years later. | ||
| | Fischer-Z In England Bleak condemnation of England under Thatcher. Listen to the same band's "Luton to Lisbon" or The Waterboys' "Old England" (both of which made it to this list) for comparisons in a style which fitted the times exactly. | ||
|  | Dire Straits Telegraph Road Absolutely anthemic in its conception. In spite of the fact these guys are Biritish they do the small-town-America rock better than Springsteen! Depressing yet enlightening. | ||
|  | Lynyrd Skynyrd Free Bird The concept of moving from a slow ballad into a driving rock song has been one of the recurring themes of great songs. This is no exception. | ||
|  | Fats Domino Blueberry Hill I can remember sitting in a pub with a mate and shoving so many coins into the jukebox for this track that it just repeated over and over for an hour or so, while we sat there hand jiving. For the memory if nothing else, this deserves its place. | ||
|  | Small Faces All Or Nothing Sixties classic. A love song which says it all. | ||
|  | The Pretenders Middle Of The Road Real RnB style rock - guitar solo and a harp solo too!! | ||
|  | The Cure A Forest Beautiful track, especially the live version off "Concert". Just rolls along with vocals to match. Can just picture Robert Smith, perfectly still, head to one side. | ||
|  | Cream Badge That guitar hook towards the end - listen to it and never ever doubt again the brilliance of Clapton. | ||
|  | Joe Walsh Turn To Stone (Live version off "You Can't Argue With A Sick Mind") When Joe Walsh played, could he play? This live track covers a whole host of emotions and is played with sensitivity and power - a rare gift! | ||
|  | Adorable Sunshine Smile Wonderful track from a very overlooked band | ||
|  | The Clash Complete Control Rousing punk anthem, before the Clash did what they derided in this track, and sold out. | ||
| | Led Zeppelin Since I've Been Loving You Quite probably, Jimmy Page's most accomplished guitar solo in all of the collected works of Led Zeppelin. | ||
|  | The Kinks Waterloo Sunset Recently voted the song which was most reminiscent of 1960's London, and THAT is saying somnething. Truly unique song captures the essence of the city, the moment, the people. | ||
|  | Milltown Brothers Cool Breeze My all time favourite uplifting song. I always feel on a high after listening to this | ||
| | The Chameleons Don't Fall Sometimes I do not know how to describe a particular song. There are just superlatives which do not do a song justice, or have been overused. Just listen to this, it is magnificent! | ||
|  | Alcest Tir nan Og Neither shoegaze nor black metal but combining something of both, this is the most distinctive track off this very distinctive album. | ||
| | Big Country Chance (Extended Remix EP version) The play out has always marked this track out for greatness, but the theme, common to post punks, of wasted lives in a soulless urban environment, is heart-rending | ||
|  | Pyotr Ilyich Tchaikovsky 1812 Overture Rousing music. You can follow the battle of Borodino and the celebrations of victory through the whole 15 minutes of this piece. | ||
| | The Waterboys A Pagan Place A piano driven song which just waits to take off; it holds you in suspense until you cannot bear it anymore. Then it drives on. The classic way to end a great album. | ||
|  | Simple Minds The American Before Simple Minds went commercial, this single was something special. Repetitive drum beat drove this along while a slightly discordant guitar swirled around. Even the lyrics were deliberately sung off rhyme. Simple Minds never did anything like this again, ever. | ||
|  | The Human League Seconds Quite simply, the best B-side ever! The A-side, even though it is often regarded as a pop classic, is not a patch on this. | ||
|  | The Headboys The Shape Of Things To Come The pianist was classically trained, and it shows. The mixture of the driving guitars with that superb keyboard work would not be matched until the Waterboys. | ||
|  | The Jesus and Mary Chain Nine Million Rainy Days Depressing and melancholy, but what a track! | ||
| | New Order In A Lonely Place B-Side to the much more well-known "Ceremony". Second best B-side ever put out and the only single to have both A- and B-side in this list | ||
|  | The Smiths Panic Dedicated to every sheep-like DJ who cannot play anything than trashy modern RnB (i.e. SLS - soulless soul). A chorus of kids chanting "Hang the DJ" has to be a magic touch. | ||
|  | Rush By-Tor And the Snow Dog Their best ever track, the segue to the finale has some superb guitar crescendoing slowly to a climax. Just imagine a procession walking into a building and you'll get the picture. | ||
| | Fischer-Z Battalions of Strangers Gloomy apocalyptic song - the real heroes are those who have to stand up after the chaos and sort out the mess. The way it builds, and John Watts' screaming, almost pleading voice, really add depth and intensity to this track. | ||
|  | David Bowie Heroes Bowie's best from his electronic phase - another example of plaintiff vocals making a good song great. | ||
|  | U2 The Electric Co. U2's live performance captured on this album was stunning. This track was the highlight for me. Launched with guitars and then drums crashing into the main body of the song, it carries through the energy right to the end. Somehow I just find this electric. U2 get a right slagging off nowadays, but when this came out, this was U2 at their best, before they sold out to the stadium rock mentality they have since followed. | ||
|  | Smokey Robinson and The Miracles The Tracks Of My Tears Another Motown classic. This one has more fantastic yet simple lyrics. | ||
|  | Deep Purple Highway Star (classic version off "Made In Japan") The way the intro rises slowly, building until it tears into the body of the song is epic. This is the top track off this seminal live rock album. | ||
| | Lloyd Cole and The Commotions Perfect Skin The track that more than anything got Cole his "student" tag. Yet as with all LC&C tracks, this one has masterful lyrics, and a great hook line too. | ||
| | The Cure Charlotte Sometimes Robert Smith's plaintiff voice is almost carried away by the driving guitars of this track. Only the Cure could pull this sort of track off without it sounding like music for a funeral. | ||
|  | Ultravox Quiet Men Years ahead of its time. By the time the rest of the world had caught up to what Ultravox were doing, they had gone sadly commercial in an attempt to "make it". | ||
|  | Stars of Heaven Widows' Walk Strangely overlooked band, but this ballad offers a different turn on the old adage - don't wish for something. Your wish might come true. | ||
|  | Television Marquee Moon Perhaps the first new wave anthem. Tom Verlane proves here beyond all doubt that the three chord thrash was no substitute for ability. | ||
|  | Erik Satie Gymnopedie No. 1 Everyone has heard this haunting piece of piano music, but I'll bet most of you did not know where it came from. Those opening notes still stir the soul. | ||
|  | John Watts Involuntary Movement A classic song to the vain girl who can't stop preening herself in the mirror. Face it, Darling. No-one else is looking! | ||
|  | Procol Harum A Whiter Shade Of Pale Stands the test of time in a way that many of its contemporaries do not. And still some of the most mystifying and yet well-crafted lyrics ever written. | ||
| | Led Zeppelin When The Levee Breaks Driving drums and a unique double harp. The production is so intense you can feel the heat of the deep south when you play this. | ||
|  | The Moondogs Talking In The Canteen Teenage angst powerpop. What more can you want | ||
|  | Catherine Wheel Black Metallic Stunning shoegaze track, swirling guitars and etheral vocals. Best of the genre. | ||
|  | Au Pairs It's Obvious Sharp, spare guitars, but this one builds slowly and holds you throughout its duration. | ||
| | Billy Bragg To Have And To Have Not Scathing criticism of the failure of the British establishment to deliver in the late 70's and early 80's. Every young person knew the feeling when Billy Bragg sang "the factory's are closing and the army's full/I don't know what I'm going to do". | ||
|  | The Beach Boys God Only Knows A beautiful song about how life will go on after love, or rather how it won't | ||
|  | Samuel Barber Adagio For Strings Immensely sad music. Heard this played over grainy footage of men going over the top of the trenches in WWI and nearly cried. | ||
|  | Ride In A Different Place Shoegazers of the world unite! The best piece from this intense and sometimes hard to appreciate album. | ||
|  | Whipping Boy Twinkle Best track from the best album from this melancholy Irish nineties outfit. | ||
| | Meat Loaf For Crying Out Loud If I could sing, this is the song I would love to be able to sing. | ||
| | Jimi Hendrix Voodoo Chile (Slight Return) Another track whose opening is what grabs your attention. The way it then slides into the body of the song is one of the all-time great shifts. Click to insert new item here. | ||
| | Fischer-Z Red Skies Over Paradise (A Brighton Dream) Another superb song from this, the best album of all time. Stark reggae beat amplifies the sentiments of the lyrics and allows the guitars to drive the refrain later. | ||
|  | Our Lady Peace In Repair Marvellously catchy track with some distinctive vocals and good solid guitar work. | ||
|  | The Undertones Teenage Kicks Punk for all teenagers. No wonder the late great Peel had this band as his all time favourite. | ||
|  | Funkadelic Maggot Brain Epic track consisting of a ten minute guitar solo. Whoever tells you funk can't rock as good as a rocker, tell them to listen to this. | ||
|  | Dinosaur Jr. This Is All I Came to Do Great pop song with a very catchy refrain. I just find myself quietly singing this on so many occasions | ||
|  | The Smithereens Behind The Wall Of Sleep Brilliant powerpop number with cracking guitar work. | ||
| | Eddie and the Hot Rods Do Anything You Wanna Do By now they had changed their name to The Rods, but they ahd lost none of their energy as this rousing punk track proves. | ||
|  | The Temptations My Girl "When it's cold outside, I got the month of May." One of the most sublimely beautiful yet simple lines of lyric ever written. | ||
|  | Harry Nilsson Without You Searing Love song. Just burns your heart this one does. | ||
|  | The Spencer Davis Group Gimme Some Lovin' Driven by some powerful keyboard work, this track has a chant refrain with a riff that is based on the simplest of repetitive bass riffs. | ||
|  | Wolfgang Amadeus Mozart Eine Kleine Nachtmusik From the mster himself. I don't care how famous this is, it is famous because it is a superb piece of music. | ||
| | Led Zeppelin Dazed And Confused In spite of all the drawn out solos, the bowed guitar and the medleys when played live, this studio version from 1969 still tops the lot. | ||
| | Joy Division Transmission Trademark Joy Division song, but this one has a cleaner edge to it. The rhythm guitar leads this track, but the vocals even now are still so depressing. | ||
|  | Tubeway Army Are Friends Electric? Electronic pop which shook the UK charts at the end of the seventies. | ||
| | Lloyd Cole and The Commotions Rattlesnakes Another great track from this band. With throw away cerebral lines about Jean Genet and references to Eve Marie Saint, you have to think about this one - but Jodie is one of the great characters of Lloyd Cole's world. | ||
|  | Ramones I Wanna Be Sedated Great title, driving riff, simple three chord thrash which anyone and everyone can join into and play. This was the Ramones at their very very best. | ||
|  | Queen Bohemian Rhapsody The ultimate combination of opera and rock. Unforgettable and the best and most unlikely single ever. |